JF History of Music: Medieval and Renaissance

 

Week 12    The Counter-Reformation


EDITIONS OF MUSIC

Lassus, Works (Kassel: Bärenreiter, 1956–) P-MUS 782.97 LAS 01

Lassus, Complete motets (Madison: A-R Editions, 1995–) P-MUS 780.6 LAS 02

Palestrina, Works (Leipzig: Breitkopf & Härtel, c.1880–) P-MUS 782.97 PAL 01

Victoria, Works (Leipzig: Breitkopf & Härtel, 1965) P-MUS 782.97 VIC 01

The Byrd Edition (London: Stainer & Bell, 1976) P-MUS 782.97 BYR 01

READING

Leeman L. Perkins, Music in the Age of the Renaissance (New York and London, 1999) MUS 780.9031 N9 Read these sections: ‘The Motet’, pp. 507–41; ‘The Ordinary of the Mass’, pp. 574–91; ‘The Final Synthesis’, pp. 867–915, 927–68.

Jerome Roche, Lassus (Oxford: Oxford University Press, 1982) MUS 780.92 LAS M2

————, Palestrina (London: Oxford University Press, 1971) MUS 780.92 PAL L1

Kerry McCarthy, Byrd (New York: Oxford University Press, 2013) MUS 780.92 BYR R3

HEAVIER READING

David Crook, Orlando di Lasso’s Imitation Magnificats for Counter-Reformation Munich (Princeton: Princeton University Press, 1994) MUS 780.92 LAS N4

Lewis Lockwood (ed.), Palestrina: Pope Marcellus Mass (New York: Norton, 1975) P-MUS LEN 782.99 PAL 161;2

Anthony  F. Carver, Cori Spezzati: The Development of Sacred Polychoral Music to the Time of Schütz (Cambridge: Cambridge University Press, 1988) 783 M8.2

James Garrett, Palestrina and the German Romantic Imagination (Cambridge: Cambridge University Press, 2002) MUS 780.92 PAL P21

Harold Powers, ‘Modal Representation in Polyphonic Offertories’, Early Music History, 2 (1982), 43–86

John Harley, William Byrd, Gentleman of the Chapel Royal (Aldershot: Scolar Press, 1997) MUS 780.92 BYR N7

Joseph Kerman, ‘Byrd´s Motets: Chronology and Canon’, Journal of the American Musicological Society, 14 (1961), 359–82 (jstor)

————, The Masses and Motets of William Byrd (London: Faber, 1981)

Philip Brett, William Byrd and His Contemporaries: Essays and a Monograph (Berkeley: University of California Press, 2007)

Jeremy L. Smith, ‘William Byrd’s Fall from Grace and His First Solo Publication of 1588: A Shostakovian “Response to Just Criticism”?’, Music & Politics, 1 (2007)

———, ‘“Unlawful Song”: Byrd, the Babington Plot and the Paget Choir’, Early Music, 38 (2010), 497–508 (oup)

LISTENING

Department

189
190
277
558
362
363
72
530
529
129
130
1484

A. and G. Gabrieli: A Venetian Coronation, 1595
A. and G. Gabrieli: The Glory of Venice
Lassus: Penitential Psalms
Palestrina: Madrigali spirituali; Canticum canticorum
Palestrina: Missa brevis; Missa Nasce la gioja mia
Palestrina: Missa Papae Marcelli
Palestrina and others: Motets
Victoria: Responsories for Tenebrae
Victoria: Requiem
Byrd: Cantiones Sacrae
Byrd: Masses
Byrd: Music for Holy Week and Easter


Library

CD-995
CD-382
CD-381

Palestrina: Missae Assumpta est Maria, Sicut lilium
Byrd: 1575 Cantiones
Byrd: Masses


ESSAY TITLES

In what ways did the music of either Palestrina or Victoria conform to the ideals and ordinances of the Counter-Reformation?

Discuss the ways in which Byrd, through his publications, succeeded in putting a public face on his private beliefs.